Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided

Schiller and Lewis present a polarity dividing Coleridge’s judgement of literary terror: Schiller, the unparalled artist of sublime terror, and Lewis, the most objectionable of gothic writers. Although Coleridge’s responses are in many ways linked to his own unique concerns, they also reflect the di...

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Autor principal:	Christopher Stokes
Formato:	article
Lenguaje:	EN
Publicado:	University of Edinburgh 2006
Materias:	Fine Arts N Language and Literature P
Acceso en línea:	https://doaj.org/article/305af3fbf2494d49bb169f147202debe
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spelling	oai:doaj.org-article:305af3fbf2494d49bb169f147202debe2021-11-23T09:46:01ZSensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided1749-9771https://doaj.org/article/305af3fbf2494d49bb169f147202debe2006-06-01T00:00:00Zhttp://www.forumjournal.org/article/view/557https://doaj.org/toc/1749-9771Schiller and Lewis present a polarity dividing Coleridge’s judgement of literary terror: Schiller, the unparalled artist of sublime terror, and Lewis, the most objectionable of gothic writers. Although Coleridge’s responses are in many ways linked to his own unique concerns, they also reflect the divided status of terror in the wider culture of the time. And if we want to understand this divided status, it is useful to turn to a characteristically Coleridgean question: is sensation transcended? This question has two distinct but related components: firstly, is the literary work addressed to higher faculties rather than the senses, and secondly, does the literary work itself depict a world with a supersensible realm?Christopher StokesUniversity of EdinburgharticleFine ArtsNLanguage and LiteraturePENForum, Iss 02 (2006)
institution	DOAJ
collection	DOAJ
language	EN
topic	Fine Arts N Language and Literature P
spellingShingle	Fine Arts N Language and Literature P Christopher Stokes Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided
description	Schiller and Lewis present a polarity dividing Coleridge’s judgement of literary terror: Schiller, the unparalled artist of sublime terror, and Lewis, the most objectionable of gothic writers. Although Coleridge’s responses are in many ways linked to his own unique concerns, they also reflect the divided status of terror in the wider culture of the time. And if we want to understand this divided status, it is useful to turn to a characteristically Coleridgean question: is sensation transcended? This question has two distinct but related components: firstly, is the literary work addressed to higher faculties rather than the senses, and secondly, does the literary work itself depict a world with a supersensible realm?
format	article
author	Christopher Stokes
author_facet	Christopher Stokes
author_sort	Christopher Stokes
title	Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided
title_short	Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided
title_full	Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided
title_fullStr	Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided
title_full_unstemmed	Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided
title_sort	sensationalism and supersensibility: eighteenth-century literary terror divided
publisher	University of Edinburgh
publishDate	2006
url	https://doaj.org/article/305af3fbf2494d49bb169f147202debe
work_keys_str_mv	AT christopherstokes sensationalismandsupersensibilityeighteenthcenturyliteraryterrordivided
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Sensationalism and Supersensibility: Eighteenth-Century Literary Terror Divided

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